Leaderboard

Someday… please… Indiana Jones and The Last Crusade expanded Film Score Presentation 1:44:36 Indy’s Very First Adventure (Film Version)** 12:00 The Boat Scene 2:23 Sinister Visitors* 0:53 The Holy Grail* 1:00 X Marks The Spot (Extended Version)** 3:52 Beneath The Floors* 2:31 Ah, Rats!!! 3:40 Escape from Venice (Film Version)** 4:25 Into Bavaria 0:38 Bringing on Father 1:49 Discussing the Book* 2:13 Don’t Call Me Junior* 1:59 The Capture of Marcus 0:50 The Austrian Way 2:40 Room In Flames 3:06 Scherzo for Motorcycle and Orchestra 3:53 To Berlin 1:07 Koeniggraetzer March (Film Version)* 3:03 To The Blimp 2:04 No Ticket 2:45 The Blimp Turns Around 1:30 Keeping Up With The Joneses 3:37 Brother of the Cruciform Sword 1:57 The Death of Kazim 2:27 Belly of the Steel Beast** (Extended Version) 9:03 Disc 1 time: 1:15:25 Film Score Presentation (continued) 29:12 The Canyon of the Crescent Moon 4:17 Into the Temple* 2:51 The Penitent Man Will Pass 3:24 The Keeper of the Grail 3:24 The Wrong Choice 4:36 Finale and End Credits 10:40 Source Music 9:10 Cocktail Source* 1:30 Market Source* 1:57 Koeniggraetzer March* 2:55 Dirigible Source* 1:30 Palace Source* 1:18 Additional Music 32:03 Indy’s Very First Adventure (Alternate)** 12:00 X Marks the Spot (Film Version Segment)** 2:50 Escape from Venice 4:21 Room in Flames (Alternate)** 3:06 Keeping Up With The Joneses (Alternate)** 3:37 The Death of Kazim (Alternate)** 2:27 On The Tank 3:38 Disc 2 time: 1:10:21 Total 2 disc time: 2:25:46

Wolf Totem - James Horner What a wonderful score. Full of all the Hornerism's one could wish for and I love every second of it. Still sometimes think about all the scores he could've written over the past 9 years and how it felt after this that he was making a bit of a comeback.

That's not Williams's quote. His quote went through "All unhappy". The rest of the stuff you added was the article's author putting his own spin on it which I think is REALLY a stretch (there is ZERO evidence to suggest Goldsmith was anything other than happy composing film music; his unhappiness came from elsewhere), a disappointing part of an otherwise good piece. Yavar

So what he's saying is if John Williams was in fact named Kevin Nagle, he wouldn't have had as much success? Anyway, it's a nice story about JW and his family going to Goldsmith's house to hang up. Were their children about the same age? Did they play together while the adults discussed music and movies over the diner?

Coming 3/19... https://www.facebook.com/groups/95015405220/posts/10168818092730221/

I just discovered this release from Neumation's facebook. I don't know if anyone grew up with this series but this was one of my most wanted TV animation soundtracks. Alas, the 17 minutes of this release don't include all the music cues that I remembered from the show (I just browsed the first episode to confirm that there was other music indeed too). Neumation says this must be a teaser. I hope so!

Postman delivered yesterday.

The problem with some of those is that fewer of the movies or TV shows really have much of a shelf life, so interest is low and/or availability is scarce. And also less is known through interviews about the partnership to supplement what we can observe. It's always easier to comment and run deeper on the things we're all already familiar with and lived through. There's so much extra context with the older stuff that it gets difficult to parse, even though I have a broad idea of the history. Which is partly why I'm really looking forward to a proper Williams biography and documentary. Delbert Mann is a key figure in Williams's trajectory, though. I mean someone could listen to Fitzwilly, Heidi, and Jane Eyre and that alone is a solid primer on "pre-Jaws" Williams. And of course Jane Eyre is a very highly regarded score around here. I haven't gotten around to the movies yet, though, so can't say what they have that makes this partnership distinct from others, aesthetically. Martin Ritt is also kind of an interesting one because he made some relatively notable movies, including Hud, The Spy Who Came in From the Cold, Sounder, and Norma Rae, but the Williams collabs don't really seem to rate in his career and the scores are not JWFan favorites. But I didn't realize looking at it that they had Pete N Tillie and Conrack close together, and then a long gap until Stanley & Iris which ended up being Ritt's final film; he died that year. Wendkos seems interesting for being a first, at least. The Robson movies seem to have some range and Earthquake gives you Irwin Allen crossover. I have no comment otherwise. I wonder about Pollack and Kershner, because they only did one film with Williams but I guess there's TV? I have no idea which were episodes they actually worked together on, IMDb doesn't make this easy. Or how much interaction Williams had with his directors for episodic television, in general. Or what these collaborations might illuminate about The Empire Strikes Back or Sabrina. That is another thing about the TV work. I don't know if we have a master thread on this but there should probably be a catalog of all the shows and episodes Williams did tbh. And which can be found online. Again, I've always found this info too spread out and incomplete to be much fun exploring....

TTT is missing a theme statement from a EE cue, and ROTK is missing an unused cue for Aragorn and Legolas outside Edora prior to The Palantir There also some cues on the CR presented with solos dialed out leaving just non-melodic material behind, namely Fellowship Reunited (fiddle on the OST and Symphony, whistle heard in the Use Well the Days Documentary), Stairs of Cirith Ungol, and Battle of the Pelennor Fields The full version of Frodo's Song under the Rarities interview, that only can be reconstructed from the CR, Rarities, and Use Well the Days doc. R/B ROTK!! Geoffrey Burgon's Narnia scores.

I think a story - as told in a film or in a series of films - has to have a certain dramatic shape. Gladiator's dramatic shape is complete. To make a sequel would mean to take the bow that had been wrapped over this most wonderful present, and unravel it anew. I find those kinds of films - we're getting many of them nowadays - depressing.

It feels uninspired and unnecessary. Some films beg for a sequel, Gladiator is not one of them. Russel Crowe and Maximus is Gladiator. There's no Gladiator without Russel Crowe and Maximus.

Some films lend themselves to having sequels. Gladiator is not one of those.

"i know, but they're all snobs."

Here’s the accompanying text from Facebook when The Film Music Society shared the image this past December: “🎥🎶 Today would have been beloved composer ALEX NORTH’s 113th birthday. North was a pioneer of incorporating jazz into film music with some of the finest scores ever written. Among his many distinquished credits are A STREETCAR NAMED DESIRE, SPARTACUS, VIVA ZAPATA! THE RAINMAKER, CLEOPATRA, WHO’S AFRAID OF VIRGINIA WOOLF?, and UNCHAINED – the theme (“Unchained Melody”) for which is recognized as one of the most romantic ballads of all time. He was nominated for 15 Oscars and was the first composer to receive an Honorary Academy Award in 1986. 🎥🎶 A moment in film music history... On June 10, 1986, Alex North was celebrated by The Film Music Society with its distinguished Career Achievement Award. Presenters included John Green and David Raksin. Pictured here from that evening are (standing, L to R) Henry Mancini, Jerry Goldsmith, and John Williams; (seated, L to R) Leonard Rosenman and Alex North.” Yavar

Top 5 worst ideas in the history of the world: 5. New Coke 4. Themed Restaurants 3. Hooked on Classics 2. Filling the Hindenburg With Hydrogen 1. A Gladiator sequel.

Coming from Intrada 3/19, James Horner’s The Lady In Red: https://www.facebook.com/share/p/64zQFVpBo5RNFzg7/?mibextid=K35XfP

Yes, the others are TV. Thanks for your comments! I particularly find the Robson collaboration fascinating. Here's this guy who had worked in some capacity (editor and director) in the Hollywood Golden Age, usually big studio productions in the 40s and 50s (CITIZEN KANE, CAT PEOPLE, JOURNEY INTO FEAR, PEYTON PLACE, THE INN OF SIXTH HAPPINESS etc.), but then fell into lesser fare in the 60s onwards, which is when Williams & Goldsmith got involved in his work. A peculiar career trajectory. But he worked with some great composers. Well, there's my webcast series that covers pretty much all of this.

"You're one ugly motherfucker!"

Must have been before 2001 in any case, because I remember reading about it before having seen him live myself.

Honestly I don't know, although in my head it was at the Royal Albert Hall but that could just be because I've seen lots of film music concerts there. I agree that those three directors provided him with some fine ongoing collaborations, but none that quite hit the sweet spot of critical and commercial acclaim which JW has enjoyed. Also, JW's success probably got him offered better quality non-Spielberg/Lucas projects than Jerry, at least once you get to the 80s and 90s. I would concede that Jerry probably could have been a bit more discerning as to which projects he agreed to or could have done with a better agent! Of any other composers, I expect he was more pissed off at James Horner's success than JW given that the average quality of Horner's assignments were probably higher than Jerry's once he hit his post-Star Trek 2 stride. Jerry would almost certainly have felt that JW earned his success with a couple of decades of TV and the various comedies, disaster movies etc. that he did before hitting the big time, even if I'm sure Jerry would have liked some of that for himself!

"THIS WILL NOT LOOK GOOD ON A RÉSUMÉ!"

I should add, I don't entirely object, but I think prequels are typically better for that than sequels.

“You are in more dire need of a blowjob than any white man in history.”

What does three up and three down mean to you, airman? End of an inning?

“Son of a bitch… He stole my line.”

"You take a big risk by encouraging them to be artists, John. When they realize they're not Rembrandts, Shakespeares or Mozarts, they'll hate you for it." "We're not talking artists, George, we're talking freethinkers." "Freethinkers at seventeen?" "Funny — I never pegged you as a cynic." "Not a cynic, a realist. "Show me the heart unfettered by foolish dreams, and I'll show you a happy man."" "But only in their dreams can men be truly free. 'Twas always thus, and always thus will be." "Tennyson?" "No, Keating."

Glad this finally happened. Just ordered the Deluxe Edition with both the SACD and Blu Ray!!!

Fantastic stuff... ROTS is definitely my most-wanted prequel expansion. It deserves the Matessino treatment! That alternate Battle of the Heroes opening being recorded was a great discovery last year. Who knows what else was recorded we don't know about!

Wait, there are people who haven't tried counting the themes and motives? Wow.

The Force Awakens says hello.

"Hey, Dr. Jones, no time for love."

Nothing wrong with Gladiator's CGI.

Yeah, I find it depressing. What does Gladiator ends with? It ends with the sad but heroic sacrifice by the main character and, like all the best dramas, it ends with a sense of promise for the future and we're left to imagine a rosier Rome and, for all they've weathered, a "happily ever after" for Lucila, Gracchus, Juba and Lucius. By making a sequel - not "another film set in that world", a sequel - you're forced into going "well, actually!" and show that those characters still have terrible trials and tribulations to go through, if they manage to go through them at all... It ruins it.

All these worlds are yours to explore, Thor. Except Middle-Earth. Attempt no landing there.

I think we just define "story" differently. I don't mean story strictly in the sense of plot mechanics unfolding. I mean story in the sense "characters going through something."

Pilot: Dick! Dick: Yeah? Pilot: Take a look outta starboard. Dick: Oh my God! It looks like a huge— Birdwatching Woman: Pecker! Birdwatching Man: Ooh, where? Birdwatching Woman: Wait, that's not a woodpecker, that looks like someone's— Army Sergeant: PRIVATES! WE HAVE REPORTS OF AN UNIDENTIFIED FLYING OBJECT. IT IS A LONG, SMOOTH SHAFT, COMPLETE WITH— Baseball Umpire: TWO BALLS! [looking up from game] What is that? That looks just like an enormous— Teacher in China: Wang! Pay attention! Wang: I was distracted by that enormous flying— Musician: Willie! Willie Nelson: Yeah? Musician: What's that? Willie: [squints] Well, that looks like a giant— Colonel: Johnson! Johnson: Yes, sir? Colonel: Get on the horn to British Intelligence and let them know about this. A little bit later: Basil: Did we get Dr. Evil? Johnson: No, sir, he got away in that big spaceship that looks like a huge— Teacher: Penis! The male reproductive organ. Also known as "tallywhacker", "schlong", or— Barbecuing Dad: Wiener? Any of you kids want another wiener? Son: Dad, what's that? Dad: I don't know, son, but it's got great, big— Peanut Vendor at Baseball Game: NUTS! HOT, SALTY NUTS! WHO WANTS SOME? ...Lord Almighty! Woman: That looks just like my husband's— Circus Barker: ONE-EYED MONSTER! STEP RIGHT UP AND SEE THE ONE-EYED MONSTER! One-Eyed Monster: [bursts out of tent] RAAAR! ...Hey, what's that? It looks like a big— Fan: Woody! Woody Harrelson? Can I have your autograph? Woody: Sure, no problem. ...Oh, my Lord! Look at that thing! Fan: It's so big... Woody: I've seen bigger. That's— Dr. Evil: [holding a syringe] Just a little prick! [injects Mini-Me] It's a flu shot! You've been in the coldness of space. I don't want you to get sick.

It will be about the cheesemakers.

Time for another piano entry again. This time, I want to highlight the 1958 album HOLLYWOODWIND JAZZTET by the one and only Jerry Fielding. We've played another example of the Fielding/Williams connection before in this thread, a selection from FIELDING'S FORMULA (from the same year). On this album, there isn't a lot of room for Williams to shine as soloist, except the track "Romance", which is what I want to play for you. It's also a nice, almost Bach-ian track. Fielding was always very good at merging jazz and classical (THE NIGHTCOMERS, anyone?), which I think is evident here. Unfortunately, very little of this rare album is available on streaming platforms (and YouTube), so here's my own upload instead: 06 Romance.mp3

Well, JW is superior.

Yeah, I'm still really not sure why this film should exist. Gladiator is a incredible film that is perfect the way it is and ends in a way that is good

thank god he is not returning! I think this will be a very bad movie…

I think he is asked so much that large stretches without anything rarely come up. He talks about the tuba and viola concerto being somewhat spontaneous. Heartwood probably the same. I wonder how much the piano concerto is him and how much Ax asking. I do think that he loves the popular vein of composing more than he realizes or at least sometimes lets on. Jumping at the ESPN thing the way he did and the comments in this interview point to him wanting more than just concert-hall composing. 50 years from now, musicologists are going to be dumbfounded that he pulled off a lifetime worth of work for the concert hall and a lifetime worth of work for movies (and a hell of a lot of occasion pieces to boot). He seems so balanced. His comments on Goldsmith and others being unhappy due to their career frustrations is so perceptive. He found the recipe for a lifetime of happiness as a composer--something that very, very few composers (from Mozart to Beethoven to Goldsmith) have pulled off.

This is one of the most clueless things you can say - unless you wrote the score. You KNOW you are correct??? Everybody here is participating in a discussion - offering examples and explanations for their interpretations. Nobody is making proclamations that they their view is the only valid view. That would be a conceited and ridiculous way to go about things.

RS: The Beatles were more popular than Jesus. JW: I know, but they're all dead!